Midnight Run: The Art of Buddy Comedy

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What happens when you get an award-winning method actor in De Niro, a timid comedian in Charles Grodin, a young up-and-coming director in Martin Brest and tell them, Go out there and make a really good comedy about a bounty hunter going through a mid-life crisis while chasing a white collar criminal? Well, what happens is you get one of the most entertaining, bombastic and heartfelt buddy comedies to come out of the 1980s, an era known for fueling the concept of buddy comedy with movies like 48 Hrs., Planes, Trains and Automobiles and Twins leading the way. Midnight Run has grown to become a cult classic of the genre and looking back on it, the film has stood the test of time beautifully.
If there ever was a recipe for the perfect buddy comedy – Midnight Run would be it. So today, I want to talk about what makes Brest’s collaboration with De Niro and Grodin stand out in a decade packed with similar efforts and what this film teaches us about buddy comedy in general, a genre that has more or less faded away in recent years with movies like The Nice Guys failing at box office, and thus further discouraging Hollywood from committing to such screwball ideas.

Meet Jack Walsh (Robert De Niro) and his dirtbag bail bondsman (Joe Pantoliano).

The first thing that we notice about a lot of buddy comedies is that they can come off as vanity or vacation projects, with big time actors cashing in easy paychecks and in exchange, giving their minimum effort. After all, if the movie isn’t serious and the subject isn’t too heavy then why should you bust your balls from 9 to 5 if you’re an Academy Award Winner? Midnight Run never takes itself seriously, but it also never dismisses the importance of emotional beats and the overarching themes of its story.
On the surface, this surely could have been another easy cash grab for De Niro, especially coming off a run of incredible yet creatively exhausting movies that included Once Upon a Time in America and The Mission. The latter especially saw De Niro put himself through enormous physical and psychological strain. It would have been only reasonable of him to accept making Midnight Run just to see him sleepwalk through the entire runtime. And yet… no sir. One of the first things that you immediately notice about Midnight Run is the commitment of everyone involved. This seemingly simple screwball comedy sees major actors like De Niro, Farina and Kotto work their asses to deliver something truly fresh and passionate, while never losing sight of the ultimate objective – fun. The movie is pure, unfiltered fun.

De Niro’s bounty hunter must track down and deliver Grodin’s white collar criminal to LA before others get to him.

Buddy comedy always works best when it’s about two polar opposites having to get along. Whether it’s the broad-shouldered, street-smart cop played by Nick Nolte having to collaborate with small-time crook played by Eddie Murphy in 48 Hrs., or the physically towering yet innocent and good-hearted Arnold Schwarzenegger trying to reconcile with his long-lost twin brother Danny DeVito in Twins, buddy comedy is at its best when the main protagonists have conflicting personalities and interests. Midnight Run, however, does not make this distinction too apparent. Indeed, De Niro is the more impatient, more violent of the two, and wears his emotions on his sleeve, while Grodin’s poker-faced accountant for the mafia goes about life as if it was one big walk in the park. Yet, underneath these glaring differences there is something much more subtle: a burning pain of some kind, whether it is lodged in the past or present, both men have hurt themselves and others around them. Both share the desire to start from scratch, and try to recapture the same thirst for life they felt when they were young.
De Niro’s former Chicago policeman turned bounty hunter dreams of owning a coffeeshop. Perhaps it’s only a dream, but his character shows all the signs of a man who’s come to realize that all this running around, chasing criminals, with or without a badge, has got in the way of real, palpable happiness. Same goes for Grodin’s white collar criminal, whose act of stealing and giving mafia money away to charities is in itself a cry for help, a last shot at redemption for a man who’s walked through life by helping the rich grow richer. One could argue that this movie is about men going through a mid-life crisis, and there is truth to that. De Niro and Grodin are only now starting to realize that there is more to life than just fun, money and a career. But only through this sentimental, dramatic lens does Midnight Run‘s humor become all the more effective. Without these backstories, the punchlines wouldn’t land the same.

The two eventually learn about each other through thick and thin.

And it’s here that the importance of a strong, committed supporting cast becomes most apparent. Movies nowadays seem to have forgotten what it means to have recognizable non-movie star faces to help the story move along. Character actors, upon of the sight of whom you go, That guy! I know him! I’ve seen him before! Well, Midnight Run is full of them and knows the extent to which it can rely on their personas.
You have a pre-Sopranos Joe Pantoliano who plays the double-crossing bail bondsman trying to screw De Niro out of a well-earned pay-day. You have Dennis Farina playing the explosive mafia boss with the ever-stoic veteran actor Philip Baker Hall as his loyal consigliere. Add to that list the late Yaphet Kotto as the ominous yet always-too-late-on-the-scene FBI agent Alonzo Mosley, and John Ashton as De Niro’s hilarious bounty-hunting rival and you got yourself a cast of perfectly lived-in characters that, when called upon, offer their very best.
The world of buddy comedies like Midnight Run navigate in always risks of becoming a caricature, a cartoon filled with cliché’s something that The Naked Gun would go on to spoof that same year and later on in 90s with its over-the-top sequels. However, Martin Brest’s film never goes to that extent. The motivations of the supporting characters are just as real as the motivations of the two protagonists, whether it’s the FBI agent’s undying pride and call of duty, or the mafia boss’ palpable fear of having his dirty secrets exposed to the world, Midnight Run never loses sight of the qualities of these characters while pumping the story with thrilling action sequences.

The great late Yaphet Kotto as the intimidating FBI agent Mosley.

Let’s face it: this wouldn’t be an 80s movie if De Niro’s character didn’t get into a shoot-out with a helicopter in a canyon, or if the mafia’s botched hit on Grodin’s character didn’t turn into a full-on, guns-blazing shoot-out between cops and gangsters in the middle of broad daylight. 80s action was always over the top, but it was up to filmmakers to capture the ridiculousness of typical Hollywood action and make it an element of the story, like James Cameron did with True Lies.
Midnight Run is never action-oriented as it focuses more on character study, but that’s why the action sequences that occur in the movie never feel out of place. The repetitive outbursts of violence become part of the story, with De Niro repeatedly telling Ashton to look the other way, ”Marvin, look out!” and knocking him out with a punch to the face, until the one time that he really means it in the climatic finale and Marvin doesn’t buy it anymore. Or when Grodin baits De Niro into believing he’s afraid of flying, to later on maneuver a plane on his own with De Niro hanging onto the wing, screaming his heart out. It’s all so wonderfully over the top, yet it never feels borrowed from another movie. It all falls into the same melting pot, and the outcome is a delicious character study mixed with ridiculous bits of action.

The exact moment when De Niro finds out Grodin is indeed not afraid of flying.

Finally, I want to point out the one scene that best explains why Midnight Run is the perfect buddy comedy.
Halfway through the film, after having been identified by the FBI and ratted out by his own bail bondsman, De Niro’s character takes Grodin’s to where he used to live back when he was a policeman in Chicago, as he intends to borrow some money from his ex-wife. Grodin and De Niro are just starting to get to know each other, and De Niro’s character hasn’t yet revealed the full truth regarding his past, neither to us nor Grodin. In-between light sequences filled with jokes and witty dialogue, Martin Brest stages this very emotional scene, with De Niro confronting the woman he loved, but lost to another man. With his hot-temper, De Niro doesn’t take too much time to get into it with wife, and as a result, the two start bickering, with Grodin, hand-cuffed, standing on the side trying to mediate this heated exchange.
All of a sudden, a little girl emerges. It turns out it’s De Niro’s daughter. As soon as she enters the frame, the bickering stops and De Niro freezes. He hasn’t seen this child in nine years, and now she’s all grown up. He can barely say, ”What grade are you in now?” and when she replies that she is in eighth grade, all he can blurt out is, ”Eighth grade, huh…” Grodin smiles at the sight of this, and the two actors beautifully capture the fragility of this scene. In the midst of a storm, there is a sudden glimmer of light and calm. This little girl, De Niro’s daughter, stands with her eyes doing all the talking for her. You used to be part of my life, she thinks. How come you’re not anymore?
What’s disarming and so brutally honest about the way this scene unfolds is that De Niro can’t bring himself to say anything more. He timidly hugs her, tries to savor her smell, and imagine all the things they could have experienced together as a father and daughter over the course of the last nine years. In a world of bounty hunters, gangsters and cops this little ray of sunlight in the form of a blond-haired child is a tragic reminder of what we can miss out on in life. Yet, despite these two people being practically strangers to each other, the daughter never expresses any resentment. She just hopes to see him again.

What could have been.
But never was.

Dirty Harry: The Doomed Protagonist

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In 1971 a young Clint Eastwood and veteran director Don Siegel collaborated on three occasions, including Play Misty for Me – Eastwood’s directorial debut (featuring a brief and rare acting cameo by Siegel) – The Beguiled – a Southern gothic thriller set in the American Civil War – and Dirty Harry – the story of detective Harry Callahan and his quest to stop the notorious serial killer Scorpio. All three titles are worth mentioning in their own right. Play Misty for Me launched the directing career of Eastwood, who would go on to direct forty more projects, including Unforgiven, The Bridges of Madison County, Mystic River and Gran Torino. The Beguiled, on the other hand, helped the young star in adding a new element to his on-screen persona – a sense of imminent threat and perversion. Finally, and most importantly, Dirty Harry was Eastwood’s first encounter with fame, after years and years of odd jobs on American TV (most notably, Rawhide) and Italian Spaghetti Westerns (the Dollars trilogy), and Siegel’s biggest box office hit in a career that spanned over three decades with little to no recognition. After that, the two would reunite almost a decade later on the set of Escape from Alcatraz, a sentimental, old-fashioned prison film. However, today I want to specifically look at the first entry in the Dirty Harry franchise, and what made the film gain an iconic status despite its controversial nature and how it fits into the context of 70s New Hollywood.

A new kind of evil threatens San Francisco.

New Hollywood was, in a way, all about fresh faces. Faces that communicated the willingness to start from scratch. Faces untouched by studios, contracts and reputations. These faces included the likes of Warren Beatty, Jane Fonda, Robert Redford, Gene Hackman, Jack Nicholson, Faye Dunaway, Dustin Hoffman and Julie Christie, among many others. Following the collapse of the studio system, American cinema was finally on its way to break taboos and throw conventions out the window. Critics and fans like to pinpoint the exact time this happened. Some argue that Bonnie and Clyde was the first movie to do so. Others like to mention Midnight Cowboy and The French Connection.
Personally, I think the definite breaking point is marked by Harry Callahan’s entrance on the crime scene of one of Scorpio’s victims on a poolside roof terrace in San Francisco. Eastwood’s pretty boy features here are hard, lean and mean. His blonde hair rough and uncombed. The dark sun-glasses the only recognizable item protecting him from the world he so passionately hates. He scans the site where the murder took place just hours ago and we immediately notice his cold, impassive attitude. Just another day on the job. Just another victim of a system that specializes in protecting the murderer.
Bruce Surtees’ luscious cinematography makes all the more evident the clash between the spectacularly rich and colorful city of San Francisco used a backdrop for all the violence and terror and our grounded, mean protagonist who is as much of an alien to his environment as the criminal he’s supposed to chase.

Harry is not your typical clean-cut hero.

What stands out about this seemingly run-off-mill cop thriller is in fact how straightforward and predictable it may seem at first glance. Like a lot of noir films from the 40s and 50s, we watch a handsome vigilante do anything he can in order to stop the evil that is threatening innocent by-standers. Hell, one of the first scenes involves Harry taking matters into his own hands as a robbery is underway across the street from his favorite burger joint. He lazily picks up his Magnum .44 and walks out to meet the gun-toting robbers. He shoots the driver and the guy in the passenger seat. He then proceeds to blow the arm off the man wielding a shotgun. So far, so good. But once he approaches the wounded criminal who is visibly trying to reach for his gun, Harry engages in the by-now famous monologue about the power of his Magnum .44 (”the most powerful handgun in the world”) and the consequences of a close-distance shot in the face. He concludes his monologue by looking straight into the camera and saying, ”You’ve gotta ask yourself a question. Do I feel lucky? Well, do ya… punk?”
At the time of its release, this was a line that had never been suggested and articulated in such a brutally honest manner. Our movie’s hero, instead of making a regular arrest or having an open conversation with the wounded perp – something a Humphrey Bogart or a Henry Fonda would have typically done – directly threatens the man in front of him and, more importantly, the audience watching the movie.
Siegel stages this confrontation without pulling any punches: one camera focuses on the robber’s arm, slowly reaching for his weapon, and another camera is set on Eastwood’s face as he looks directly at us. Simple, but effective. This initial stand-off acts as a checkpoint for whatever is to come in the movie’s remaining runtime. As an audience, we must nod our heads and admit that this is indeed the kind of movie we signed up for. This new Hollywood violence can be the stuff of nightmares. To make the point even clearer, the initial draft of the movie had the scene end with Harry placing his gun to his own temple and laughing at the perp. Talk about making a statement.

Violence, in Harry’s mind, is an inevitable remedy to evil.

This kind of straightforward, graphic violence was nothing new in other regions of the world and in other dimensions of American cinema, Sam Peckinpah’s The Wild Bunch (1969) being the prime example. However, nothing had really been done on such a massive commercial scale. Dirty Harry was supposed to be the new hero we could all get behind and cheer for, and yet, both Siegel and Eastwood were determined to keep fans at a distance. This guy was hateful, violent and broken inside. His only purpose was to play dirty on the behalf of the police department and the mayor’s office. A gun-for-hire, so to speak. How could he be the face of a franchise?
The commercial up-to-date stylization of characters and plot points we had already seen before (the strict, by-the-numbers police captain, Harry not getting along with his new partner, a failed attempt at catching the villain, etc) served as a reflection of the needs of modern day audiences. It’s not surprising that Roger Ebert, the famous movie critic, was shocked when confronted with the movie’s direct, vicious and as Ebert himself said it, ”fascist attitude,” but accepted it as an inevitable consequence of the pent up anger boiling inside our protagonist. Because on the one hand, Harry is angry and hateful – most of the time he is indifferent to the daily horror show surrounding him, similarly to Taxi Driver‘s Travis Bickle, he roams around the streets to his beloved city shaken by crime and waits for judgement day to come. On the other hand, he still believes that despite the odds being against him, he can still try and do the right thing.
What we get is not a black or white character, but a grey one. A character riddled with doubts and frustrations but motivated to act on his own terms out of a sense of duty. Dirty Harry ends as a mirror to a society responsible for creating and enabling men like Harry Callahan, men who feel like they’re above the law just because they can toss their badge away from time to time. Men who walk with a gun in their hand like it’s the Old Wild West.

Harry brutally interrogates Scorpio in an empty football stadium.

New Hollywood was all about characters like Callahan, just as it was about characters like Scorpio: ruthless villains (in this case, based on the real-life Zodiac killer) troubled by a traumatic past (it is hinted that Scorpio served in the military), bound to their twisted obsessions. Movies were not meant to please, satisfy and calm audiences. Quite the contrary. You had to be shocked. Movies like Dirty Harry refused to entertain for the sake of critical success. Both Siegel and Eastwood had a picture in mind and went about doing it the way they had envisioned it.
The hopeless task that Harry performs as he runs from telephone booth to telephone booth in search of the place where presumably Scorpio left a girl to die of suffocation is a perfect depiction of the unapologetically harsh way New Hollywood went about telling stories. You know the girl is dead. Hell, even Harry knows. But it’s the only thing he can do. Run around in circles in the name of the law. The futility of the violence he carries with him is what is bound to torment him for the rest of his days.
It does not matter whether the badge will still be strapped to his jacket or not. It’s something he simply cannot get rid of.

Was it really worth it?

Street of Shame: Japan’s Answer to Italian Neorealism

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When Roberto Rossellini decided to direct a film about children and the Italian resistance movement in war-torn, Nazi-occupied Rome in 1945, nobody could have predicted the lasting impact on cinema and legacy of Rome Open City (1945). What Italian neorealism did was give a voice to those that did not have it. Its entire philosophy revolved around using non-professional actors in real-life locations to present the stories of men, women and children of working class background, their preoccupations, fears and desires. The atrocities of war, and the long-lasting misery that came with it provided European cinema with a deeper, more nuanced insight into the lives of people who up until then had been marginalized and prevented from appearing on the silver screen. As Italian neorealism blossomed with the likes of De Sica (Bicycle Thieves), Visconti (La Terra Trema) and Fellini (La Strada), Japan witnessed the rise of a different kind of cinema. Established directors like Akira Kurosawa and Yasujiro Ozu, who had been forced to make propaganda films to support the empire’s war effort were finally allowed to explore and develop their own ideas: Kurosawa was initially drawn to stories of organized crime and violence (Drunken Angel and Stray Dog), while Ozu grew to become an expert of family dynamics (Late Spring and Tokyo Story). However, the director I want to talk about today, Kenji Mizoguchi, went down a different path, at least until the final year of his life. Mizoguchi’s most known works include Ugetsu and Sansho the Bailiff, stories of oppressed peasants set in feudal Japan and known for their theatricality, however his swan song, namely Street of Shame released the same year of Mizoguchi’s premature death, is the one that I consider to be, in a catalog of classics, his finest achievement. And here’s why.

Kenji Mizoguchi on the set of Street of Shame.

Street of Shame is a film about prostitutes in the Red Light District of Tokyo as the country is trying to pass an anti-prostitution bill. Dreamland, the brothel which houses the women, is a place cut off from the rest of the world, a place that, if entered, offers different sets of rules that do not necessarily apply to the external world. For one, family members are not allowed inside, and clients who visit regularly are nothing but strangers when stumbled into outside the brothel’s doors. Dreamland is a place of endless debt: the women that work there are all in debt to each other and ultimately, to their pimp and manager. Their money is subject to increasing interest rates and is, in a way, what prevents them from leaving this place. The women working at Dreamland are, like in all of Mizoguchi films, real, fleshed-out characters: aging mothers still supporting their grown-up children, devoted wives working tirelessly to pay rent for their unemployed husbands, teenagers running away from home, hoping to make a name for themselves. Their evident differences in age, background and beauty are often subject to fights, acts of betrayal and feelings of hopelessness and despair in the face of a society that treats them purely based on one thing – their bodies. This society, having been driven to the ground by the devastating effects of war, now desperately trying to come back from the dead, has created and consistently reinforced a culture of misogyny, where it is okay for these women to openly admit to themselves ”I’m nothing but an object for sale.”

Everything on display is for sale.

What becomes apparent when watching Street of Shame for the first time is how modern it feels. It never attempts to be anything other a study of oppressed women. Whereas Kurosawa and Ozu were busy making movies steeped in genre (Kurosawa with film noir, and Ozu with classical melodrama), Mizoguchi directed Street of Shame similarly to Rossellini with Rome Open City; the line separating these two films and the reality they present is razor thin. Mizoguchi’s Japan is busy rebuilding itself and its reputation. And reputation goes a long way. Reputation is what leads the son of one of the prostitutes to push her away after years of sacrifice and care. Reputation is also what drives the husband of one prostitute to try and hang himself. The oppression and abuse these women have endured over the years is constantly being swept under the rug in the name of a man’s reputation. Mizoguchi’s watchful eye sees this cruel irony, and lets it patiently unravel. He makes the male characters in Street of Shame stand in for Japan’s patriarchal society: the suffering these women undergo for them is taken for granted, and to them it is never a matter of lack of choice. In their minds, this is the profession these women wanted all along. Thankfully, Mizoguchi unmasks the hidden mechanisms that enable this cruel, endless cycle of oppression. When the father of one of the younger prostitutes, Mickey, announces he’s there to disown her after her shameful conduct, it is revealed that he is one of the brothel’s most frequent customers, known for his preference of younger flesh.

Victims of a power-hungry system.

The cruel twists and revelations in the film are often served as vignettes. There is no real plot to be found, only a sad string of sequences that put the life of each woman on display. One of the more devastating instances occurs when Yasumi, one of the older prostitutes, tries to escape Dreamland in search of happiness in the form of marriage. Gathered outside, some of her friends and colleagues wave at her speeding car with evident envy. Yet, soon enough, Yasumi returns with tears in her eyes. Her marriage was as much of a trap as prostitution, because a woman is not supposed to have dreams and passions; a woman like Yasumi is to serve. At least at Dreamland she gets to charge for the service she provides. It is this realization, of a sealed destiny within the confines of the brothel, that makes Mizoguchi’s film feel timeless. This cast of characters, so vibrantly unique in their own right, are shoved into a corner and told outright: You don’t matter. Whatever change the country is undergoing, they are not part of it.

Mizoguchi’s scarce use of long shots is quite haunting.

The reason movies like Street of Shame are so important is that their vision goes beyond the screen. In fact, Mizoguchi’s final film acted as a further motivator to pass Japan’s anti-prostitution bill in 1957, the year following the film’s release. The Japanese government considered Street of Shame a catalyst in the matter, and as a consequence introduced laws meant to protect sex workers from trafficking, punish third parties involved in the trade and rehabilitate women who chose to evade prostitution by setting up guidance homes in all regions of the country. In such instances, the power of cinema is undeniable, and it seems only fitting for a director of Mizoguchi’s skill and influence to leave this world by inspiring an entire society to strive toward progress. Neorealism, after all, was meant to do just that. Directors like Rossellini and De Sica wanted to inspire audiences to consider the movies they were watching as stark observations of everyday life. All of a sudden, the people they chose to ignore on the street were the same people they paid to watch on the screen.

”You’re bound to lose your virginity, you might as well charge them for it.”

Sound of Metal: Readjusting to Life

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The name of the game for the past year or so has been Adapt. As a society we’ve struggled with and still to this day we continue to learn the correct way of functioning amidst a global pandemic. Our habits have undergone drastic changes due to measures implemented to stop the spread of the virus. School is attended online, gyms are closed, restaurants are open only for take-out delivery, and so on. Today, we consider ourselves lucky if we’ve managed to go out for a walk without stumbling into anyone. We actually look forward to walking our dog, or leaving the house for a doctor’s appointment. In a way, we have collectively responded and readjusted to a new reality, where social distancing, masks and hand sanitizers have become our best friends. Why do I mention this?
Because today I want to talk about one of my favorite movies from last year; a movie that is, in fact, about responding to an emergency and the difficulty in readjusting yourself to a new way of life. That movie is Sound of Metal by Darius Marder.

Ruben’s life takes a dramatic turn when he loses his hearing.

The tragic story of a heavy-metal drummer (Riz Ahmed) losing his hearing is one of extreme subtlety and unflinching character considering how high the stakes are for our protagonist. Ruben, played by Ahmed in a virtuoso performance, is in many ways similar to a lot of us. He’s proud, determined and sometimes plain dumb. When the sound in his ears pops for the first time, replaced by a consistent dull buzz, he prefers to lie to himself than face the consequences. The idea that this buzz will eventually fade away is one that he holds onto in the movie’s opening minutes. After all, life’s been good to him: despite his heroin addiction that he’s managed to overcome along with his girlfriend, Lou, he’s got it made: he gets to have his own band, play the drums and tour the country on his own terms, in his own RV. He gets to wake up early every morning, prepare a healthy breakfast, listen to 50s music, and dance with the love of his life. Nobody and nothing, it seems, can take this away from him.
Marder, the film’s director, skillfully captures the details of this perfect life by highlighting the omni-present sounds in Ruben’s everyday routine: the rhythmic grinding of the smoothie mixer, the crackling of eggs in a frying pan, the soothing and soft background noise produced by Ruben’s record player. By emphasizing the richness of such tiny details, Marder offers us a glimpse into our protagonist’s post-rehab world. These tiny details, whether we like it or not, are what make Ruben’s life so special, so damn precious.

At the dinner table, Ruben is confronted with a new reality of people communicating in ASL.

And yet, at the same time, these details are also the most tragic aspect of the overwhelming loss that Ruben experiences once he full realizes the gravity of the situation. Denial is no longer an option. The world around him has become one continuous, indistinct buzz.
Sound of Metal, however, refuses to capitalize on and settle for misery. Instead of letting Ruben free-fall back into drug addiction and deep depression, something that most movies about human tragedy love to do, it pushes him down a path that is meant to lead him back to life. With the introduction of Joe, the head of a Deaf community in Missouri, the film once again establishes the running theme of life instead of misery. Joe (played by a heartbreaking Paul Raci), a recovering Deaf Vietnam vet and eventually Ruben’s counselor, stands for life. His fragile, worn out features and tired eyes emanate a sense of calm in the face of tragedy. Pointing to his forehead he says, ”We’re looking for a solution to this…”, and with both fingers signaling his ears, he adds, ”…not this.”
The community to which Ruben is invited to is a community of people affected by the same pain who, through collective effort, have learned to re-create a new reality for themselves.

Joe – Ruben’s counselor in the Deaf community.

Ruben, like a lot of us, is determined to change everything around him and persevere. The loss of hearing, he quickly concludes, cannot stop him, his dreams, his passions, his life with Lou. Those things must go on. The show won’t stop. The thought of implants crosses his mind.
Again, like a lot of us, he wants the quick fix. Like an addict, he impatiently awaits for the moment of relief. This obstacle that prevents him from getting back to his old reality is, at first glance, a simple technicality that can be bypassed with the help of something as routinely as surgery.
Joe notices Ruben’s restlessness, and with the stern yet worried look of a loving father, he gives him a task to complete each morning: he is to get up early, walk upstairs to the house’s loft, and simply… sit. Sit still and absorb the silence that persistently envelops him and his mind. And whatever prevents him from sitting still, he is to write down in a notepad.
At first, this may seem to Ruben, and us – the viewers – a little preposterous. But soon, this seemingly preposterous activity reveals what Sound of Metal is all about: finding that moment of utter stillness, accepting silence, is the hardest thing one can do. It is also the most honest one, because accepting silence, like Joe did years and years ago, having returned from the war and replaced loved ones with alcohol, is sometimes the only cure to the lies we tell ourselves in order to survive.

In the presence of children, everything is possible.

What Sound of Metal captures brilliantly is our tendency to twist and turn, shove and push when things go sour; our innate tendency in not realizing that the answer is sometimes right in front of us for the taking. Marder, the director, places us alongside Ruben deep into the heart of a tight-knit community bound by what we might consider a handicap, but what they consider a second chance at life. The world this community operates in features concerts, school trips, dinner parties and work opportunities, just like the world outside of it. And I think it’s safe to say that most of the time we are just like Ruben: we think that change takes place around us, when in fact, what he soon learns from Joe, the most beautiful thing in the world is to sit still in silence, because then you’ll know: you’ve done everything you could. You’ve learned your lesson. You’re alive.

Life doesn’t sound the same anymore.

I will not go into more details, as I do not wish to spoil such a magnificently crafted drama. I do, however, want to emphasize the level of maturity the film displays when dealing with such vast themes as regret, addiction and moving on. A lot of things go unsaid, but Marder knows when to linger with the camera a bit longer than usual in order to capture the dramatic beats of the story. Riz Ahmed’s eyes, so big and bright, communicate Ruben’s sense of being lost at sea, while Paul Raci’s emanate a fragile sense of calm and understanding.
And then there is Lou (the wonderful Olivia Cooke), Ruben’s band leader, girlfriend and life-safer. As Ruben puts it, she is his ”fucking heart.” Lou is a character so universal yet so intimate and well-crafted that there is no way this movie exists without her. She represents everything that was good and felt right in Ruben’s life – she is the one who stood by him in moments of crisis and the one who spurs him to commit to Joe’s community. She is the beginning and end to Ruben’s story. She is also, ultimately, a tragic reminder that you cannot, no matter how hard you try, step into the same water twice.

You’re my fucking heart, Lou.

The Godfather: An Essential Christmas Movie

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With Christmas coming up, we all tend to go back to the movies that we love and find comfort in. Whether it is Home Alone, It’s a Wonderful Life, Love Actually or When Harry Met Sally, one thing is certain: the holiday season is a time when we especially want to feel comfortable with the world around us. Each one of us has their own safety blanket. Each one of us has, some way or another, their own favorite teddy bear.
Before sitting down to write this entry, I kept thinking to myself, what is the one movie that I consider an essential Christmas movie? What is the one movie that makes me feel warm inside? And although, sure, it sounds like a pretty odd choice, all things considered, my answer is: Francis Ford Coppola’s Godfather.

The greatness of Coppola’s groundbreaking epic released in 1972, that went on to become one of the biggest and most successful sagas in cinema history, has been known for quite some time now. It’s regarded as one of of the main cornerstones of modern cinema, with critics still raving about it and directors still trying to imitate it almost 50 years after its release. Its head-on depiction of violence, its fierce attitude and the rule-breaking process behind it is what, among many other things, has turned Puzo’s book into a generational cinematic feast.
Thus, in order to mix things up and keep the holiday spirit alive and well, today I want to look at how most of the qualities we associate with Christmas movies manifest themselves in The Godfather.

The magical opening to The Godfather – the wedding ceremony.

It all comes down to family. At the end of the day, Christmas movies are more often than not about avoiding loneliness, and finding meaning and solace in being around other people. There is often pressure involved, as characters struggle to reunite with their friends and relatives, sometimes even refusing to sit at the same table, or in the case of Home Alone, initially wanting nothing but a good time away from a bunch of stressed out, screaming, preoccupied adults and teenagers.
In The Godfather, like in any other Coppola movie, the dominating theme is that of family. Family that can assume both the form of a vicious octopus whose tentacles find their away around your throat and ultimately choke you to death, and that of a protective, loving unit that shields its members from the dangers of the outside world. Unlike its far more cynical sequels, The Godfather treats family like a fleeting dream rather than a twisted nightmare.
Similarly to It’s a Wonderful Life, where the protagonist fully realizes the importance of his own existence and his family’s only when confronted by the prospect of death, Coppola’s first gangster film works toward the realization that the only thing that can alleviate our passing is family. When Tom Hagen, out busy Christmas-shopping in the city, is shoved into a car and held at gun-point by Sollozzo and his men, it is the comforting thought of Hagen’s family eventually protecting him from his kidnappers, that makes him appreciate the idea of not ending up alone on a snowy, Christmas night somewhere on the outskirts of Brooklyn with a bullet in his head.

Don Corleone picking up some fruit and vegetables.

In particular, it is the scene involving the assassination attempt on Don Corleone that makes me think most about the power that the concept of family holds over the film’s characters. Coppola directs the scene very quietly, almost with an intimate cruelty as the impending doom of what eventually will follow this incident (Michael becoming a murderer and running away to Sicily, the war of the Five Families, the Corleones momentarily reaffirming their strength only to see it all crumble…) hangs over us like the sword of Damocles.
With its simple set-up; Don Corleone, old and fragile, picking up some oranges from the local shop, accompanied by his son, Fredo; the scene builds up a remarkable contrast between the intimate action of a very powerful man doing something as basic and routinely as buying fruit and the loud, increasingly faster sound of the assassins’ approaching footsteps. And once the roar of the guns being fired right into Don Corleone’s back, echoing across the street ends, we are left with something even more intimate: the moment when the son realizes he wasn’t able to save his father, reaching out in shame, head in his hands crying, ”Papa, Papa!”
It is the culmination of violence resulting in a moment of emotional fragility that reminds me of James Stewart’s protagonist in It’s a Wonderful Life helplessly watching on as the town grieves his disappearance, wishing he could have done something to prevent all this unnecessary pain.

The shame of a son who failed to protect his own father.

And like in any proper Christmas movie, love and romance are also prominent themes in The Godfather. Whereas in Love Actually and The Holiday, the conclusion that love is something you just can’t run away from is pretty straightforward in its presentation, The Godfather uses a similar conclusion but to different effect. ”Cherish it while you have it” or ”Don’t hesitate. Just go for it!” is often the underlining message in most Christmas movies.
In The Godfather this same message is put forth along with the painful consequences. There is an impending OR… that gives the movie that tension that we feel once Kay and Michael are having dinner, half-knowing that their lives are about to change forever. ”Cherish it while you have it OR you’ll end up becoming strangers to each other for the rest of your lives.” The two of them sit across from each other, barely touching their food, exchanging glances, running way from each other without knowing it. The energy the scene possesses lies in our feeling of unease that stems from our protagonists’ uncertain fate. Far from the mindless, teenager-like naivety and happiness that Kay and Michael displayed in the opening wedding sequence, here they closely resemble a much older couple, doomed from the get-go, slowly growing used to the unspoken truths that separate them.
Once Michael returns from two years of exile in Sicily, the thought of the doomed relationship turns into reality. And despite their efforts to disguise pain as duty, regret as responsibility and lies as truth, Michael and Kay’s bond was gone the night they decided not look each other in the eyes from across the table. It is, in other words, the tragic outcome of the What if question that so many Christmas movies like to pose, but are too afraid to answer.

”When will I see you again?” ”I don’t know.”

Coppola’s Godfather explores themes of family and love in a way that, ultimately, it feels more violent to let somebody down or close a door in someone’s face, than to merely strangle somebody or drive them out of town and shoot them in the back of the head.
The explicitly violent sequences that shocked audiences at the time, including Luca Brasi being put to sleep with the fishes or Sonny getting riddled with machine-gun fire, pale in comparison to the emotionally violent outbursts of Don Corleone breaking down in tears, muttering over Sonny’s corpse, ”Look how they massacred my boy,” or Michael harshly telling Fredo, ”Don’t ever take sides against the family.” What makes these out-spoken confessions so powerful is the sense of community and family history that these carefully constructed sentences emanate so brilliantly. When Tessio is being sent for and accepts his long-sealed fate without blinking an eye, it hurts because we saw him be part of the family. We saw him eat Clemenza’s meatballs, exchange jokes with Sonny and Tom, and it is the betrayal on both sides that ultimately undercuts the theme of family that had been so convincingly sold to us – the audience.
And while The Godfather has been called out numerously for excessively romanticizing the Cosa Nostra, it is the emotionally violent way it separates itself from its underlining themes that makes it such an honest, heartbreaking portrayal of our society. With its fable-like quality, powerful imagery and masterful storytelling The Godfather sooths our senses, luring us into a world of ancient traditions and well-established values that resonate across all living rooms and TV sets. Like all great Christmas movies, it places a mirror in front of us, and asks – What would you do? What matters to you?

As much as they wish to hide it, nothing will ever be the same again for father and son.

The Man Who Dared to Be King: Remembering Sean Connery

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It’s always unfortunate when an actor’s career, in the wake of their death, gets narrowed down to their singular, most popular role. With the passing of Sir Sean Connery, it was inevitable that the world would be busy bidding farewell to the one and only 007, aka James Bond. After all, he was the first star to embody the world’s greatest spy, the first major star to utter the words, ”The name’s Bond. James Bond.” And yet, today I want to explore the Connery that I know from anything but the James Bond franchise. I want to go beyond the years of fame celebrated as the deadliest secret agent, and explore the numerous years he spent trying to escape the Hollywood trap of typecasting. I want to look at Sean Connery as the artist who wouldn’t go down without a fight.

After the enormous success of Dr No, the first ever Bond entry, it’s fascinating to see where Connery decided to go. At a time when more lead actors began taking on more complex and transgressive roles, including the likes of Paul Newman with Cat on a Hot Tin Roof, Richard Burton in The Spy Who Came in From the Cold and Anthony Perkins in Psycho, Connery was smart enough to decide not to stick to the script, and try his hand at something a little less conventional than smoking cigarettes, sleeping with very attractive women and killing bad guys. By starring in Alfred Hitchcock’s Marnie, he showed that his good looks can skillfully mask whatever bubbles inside of him. In this psychological thriller, Connery plays Mark, an elegant, respectful gentleman who eventually turns out to be a violent rapist, taking advantage of Tippi Hedren’s Marnie both physically as well as psychologically. The initial charm fades away and is replaced by an ominous air of threat. To viewers of the time, who were used to the likes of Rock Hudson, Gregory Peck or Cary Grant, familiar faces known for playing predictable, well intentioned characters, such a sudden, terrifying revelation came as a shock. The film resulted in mixed reviews. The violent sexual relationship between Mark and Marnie seemed to be too much for both audiences and critics, but the message Connery’s performance had conveyed was loud and clear: I will not be just another victim of the studio system. I will be my own master.

Marnie introduced a new dimension to Connery’s on-screen persona.

And so it was. After completing his spell as James Bond, and passing on the torch over to George Lazenby and Roger Moore, Connery was desperate to bite into meatier roles and wipe the slate clean. His work with Sidney Lumet is perhaps the most interesting chapter of Connery’s sprawling career and proof of what a great talent he was. Having collaborated with the likes of Marlon Brando, Rod Steiger and eventually, Al Pacino, Lumet had a reputation of being the best actor’s director. His focus on rehearsals and precise, almost ritualistic on-set direction was the key to granting Connery the freedom he needed to truly express his range as an actor. And perhaps that is what comes off as most evident and remarkable in Connery as an on-screen presence: his range. Utilizing his good looks to seduce the audience is one thing, but turning the tables around through humor that often resulted in outbursts of rage, indignation and shame is what, to me, put Sir Sean on the pedestal among the very best actors of his generation. Look no further than Lumet’s The Hill (1965) and The Offence (1973).

Connery’s excellent turn in Sindey Lumet’s convinct movie, The Hill.

Both films deal with the strength, and simultaneously, the fragility of the human spirit. The Hill, set in some godforsaken desert hole during WWII, tells the story of military prisoners struggling to stay alive due to the grueling and brutal drills carried out by a blood thirsty Sergeant. Connery plays one of the more rebellious prisoners, former sergeant major Roberts, who continues to stand up to the cruelty inflicted upon his fellow detainees. Yet our favorite Scotsman never tries to play the role with a holier-than-thou attitude. He plays him like a convict: a man scarred by his past, uncertain about his future, incapable of taming his violent instincts, yet unwilling to back down even in the face of the worst kinds of pain. Far from Steve McQueen’s idealistic version of a prisoner in The Great Escape, Connery once again knew what needed to be done to push aside the audience’s expectations and throw any preconceived labels or judgements out the window.

In The Offence, Connery gives arguably his best performance.

Two of his greatest anti-hero roles came in the troubled, nihilistic cinema of the 70s. His most remarkable collaboration with Lumet, The Offence is a deep dive into the twisted nature of violence, as Connery plays a police detective set on getting the truth out a suspect by any means necessary. The policeman, blinded by shock and trauma experienced after years and years of collecting dead bodies off the street, channels Connery’s own much talked about inner violent, brutish character. Although he presumably stands for what is morally good and right, his methods of interrogation are far from such ideals. After beating the suspect to a pulp, the detective realizes he’s become the very individual he spent his whole life chasing: his life thus is meaningless, torn apart by the appeal of violence, a statement that rings particularly true in the time and setting this movie was produced, and that without a doubt reveals some dark truths about what we, as viewers, consider to be entertainment and glamour.

The seductive nature of power in The Man Who Would Be King.

In The Man That Would Be King (1975), directed by John Huston and based on a Rudyard Kipling novella, we get a glimpse of the corruptible force of power as Connery plays a British Army officer set on becoming the king of an unexplored Oriental land. His initial fascination with adventure and his friendship with a fellow officer (played by Connery’s dear friend in real life, Sir Michael Caine) disappear once Connery’s protagonist discovers what power, in the form of a kingdom of devoted followers that see him as a divine figure meant to bring them salvation, truly tastes like. Connery once again plays this role with a mix of boyish humor and intimidating physicality that makes him hard to dislike, but equally hard to root for as he blindly heads for the inevitable fall from grace. Similarly to his character in the story, Connery walks a fine line between charm and terror, fun and cruelty, cunning instinct and blind ignorance. The eventual downfall is a tragic one, but Connery’s character walks toward it with the reassured step of a man who’s seen enough in life and knows that his time has come.

As Malone in The Untouchables.

Looking back on the career of a man who appeared in over one hundred films, we see what life is really made of: change. Connery’s skill in adapting to the times he lived in is a sight to behold. He knew how to respond to the sexual revolution of the 60s by acting on his sex appeal and his masculine features, the same way he knew how to meet the demands of the audiences of the 70s by playing characters that questioned the morality and ideals of the society these audiences belonged to. In the 80s and 90s, the age of blockbusters and action films, Connery continued his successful run by capitalizing on his larger-than-life persona and appearing in films like The Untouchables, Indiana Jones: The Last Crusade, The Hunt for Red October, The Rock and Entrapment. He went from learning the craft from the likes of Hitchcock and Lumet to mentoring up-and-coming stars in Kevin Costner, Alec Baldwin and Catherine Zeta-Jones. And despite often falling victim to his own celebrity status, it is undeniable that Sir Sean Connery was one of the last members of a dying breed, one the likes of which we will sadly never see again.

The Devil All the Time: Confronting Evil the Wrong Way

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With all the unspeakable tragedies and acts of evil currently stirring our world, it seems a movie like The Devil All the Time was inevitable. Movies, and particularly Netflix-produced ones that can reach a broader audience, are often good reminders of our present day affairs. Fictional worlds tend to cut deeper when they allude to events and characters reminiscent of their real life counterparts. I wouldn’t go as far as to say that we learn from these worlds, but I would argue they help us further realize certain truths about the society we belong to, and the issues that come with it. At the same time, the conclusions drawn from these movies can feel quite underwhelming.
Considering the effort and talent put into Antonio Campos’ The Devil All the Time, released on Netflix this past month, I couldn’t help but feel like the film did a poor job of transmitting whatever message or idea it was trying to convey about evil. Thus, today I wanted to compare Campos’ latest feature with the Coen Brothers’ No Country for Old Men, as both movies treat evil in a similar fashion, however one does it considerably better than the other.

The Devil All The Time is a generational tale of violence.

The story of The Devil All the Time is a complex web of families torn apart by the brutal nature of mankind in the American Midwest. A war veteran returns home only to find himself haunted by the ghosts of the past that ultimately spur him onto a path of religiously-driven violence. This violence then is passed onto his son and the people around him. The world of The Devil All the Time is populated by men and women, housewives, preachers, cops and crooks, whose understanding of God and faith in general revolves completely around the notion of sacrifice by blood. By hurting others, these troubled characters are lead to believe in their own salvation. One of the recurring lines of this film, ”There’s a lot of no-good sons of bitches out there. You just got to pick the right time (to hurt them),” echoes ad nauseam, to the point that the movie itself becomes a tiresome cycle of endless violence committed by people whose traumatic past is the only reason they keep moving forward.

Soon, Tom Holland’s character in The Devil All the Time gives in to acts of evil too.

This is my major issue with the movie. It works only on a single level. It views the world from a single perspective, and never even dares to contradict this worldview by injecting it with a more sophisticated reflection other than that we are the products of our environment and there is no escaping it. And this, I find inexcusable. Because commenting on important matters such as evil, violence, treachery, manipulation, in the way that Campos tries to, is often the perfect way for sweeping such matters under the rug and labeling these movies as pure entertainment. Which is a shame, because if we look at No Country for Old Men, we see that cinema can make a difference with regard to how complex fictional worlds can be.

Bardem’s Chigurh as the unstoppable force of evil in No Country for Old Men.

Similarly to The Devil All the Time, the Coen Brothers’ Best Picture winner of 2007 is a tale about evil inevitably finding its way into society, and how the nature of this evil, seemingly so simple and primitive, makes it an unstoppable force, a force that perhaps we will never fully understand.
Both movies have evil men in them, men whose only drive is to hurt, kill and humiliate whatever and whoever stands in their way. The main difference, however, lies in the good characters that populate these movies. In Campos’ film, there isn’t any hope for anybody. Any signs of kindness are limited to the bare minimum, because the film wants to be consistent with its nihilistic outlook on life. Kindness equals weakness. Nothing is of value. Everything and everybody dies, ”You just got to pick the right time.”
On the other hand, No Country for Old Men, though it presents us with one of the most terrifying villains in movie history, Anton Chigurh, and a grim death-filled desert landscape where laws don’t apply to everyone the same way, it also gives us characters worth believing in. Llewelyn Moss, our unlucky protagonist who finds himself in the middle of a drug deal gone wrong and with someone else’s bagful of money in his lap, is still at the very core a good man, with dreams and aspirations of building a better, more secure life for himself and his wife, Carla Jean.
Tommy Lee Jones also plays a good character, Sheriff Bell, a character that for the majority of the movie tries to grasp the extent to which evil men like Anton are willing to go for the sake of what? Money? Drugs? Fame? He can’t put a pin on it, and that is what scares him – a good, lawful man – the most.

Llewelyn and Carla Jean have each other.

And that is I think where the main difference lies between these two equally competently made films. Whereas The Devil All the Time states loud and clear that there is simply no escaping evil that surrounds you, evil that you’re born into, as Tom Holland’s protagonist, the son of a suicidal war veteran and the step brother of a girl that died at the hands of a crooked preacher, is eventually driven to inflicting the same kind of merciless violence on others, No Country for Old Men refuses to fall into a similar trap. The film takes a moral stand through its literary opening written by Cormac McCarthy (the author of the novel), when Sheriff Bell narrates about the time he put a man on the electric chair and the man, a cold blooded murderer, till the very end continued to say he would happily kill again if he were given the chance to. And in the face of this unflinching evil that has no head nor tail to make of, Bell openly admits, ” I don’t want to push my chips forward and go out and meet something I don’t understand. You can say it’s my job to fight it but I don’t know what it is anymore. More than that, I don’t want to know. A man would have to put his soul at hazard. He would have to say, okay, I’ll be part of this world.”

Tommy Lee Jones as the local sheriff trying to make sense of all this madness.

No Country for Old Men works as a moral tale because not only does it present the crumbling reality of a dying breed of men not accustomed to this kind of senseless violence and inexplicable evil – it also shows that there is a way of avoiding it, that sometimes, by not succumbing to the way of the gun, we may be able to go out on our own terms, with pride and dignity. Is this argument a little too far-fetched? A little too romanticized? Perhaps, but good movies are meant to give us options, not force us into a single, badly constructed worldview. The nihilism and dread of The Devil All the Time serve little to no purpose other than to tell a grim story of hopelessness and despair motivated by religious misconceptions. Whatever Campos and Pollock (author of the novel) tried to do in adapting the book to the screen doesn’t work. Because yes, evil exists. And yes, bad people do bad things. And sometimes good people are forcefully driven to similar acts, but if we look carefully, there should always be, no matter how slim or faint, a ray of light at the end of the tunnel.

In No Country for Old Men everything comes at a price. Especially Mariachi bands.

Outcasts and Rejects: The Cinema of Kelly Reichardt

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One of the most impressive and unique voices of contemporary cinema belongs to Kelly Reichardt, a filmmaker who strongly believes in the complexity of mundane life as we know it. The simple acts of waking up, getting to work, and having a warm meal before heading back to bed, to Reichardt, constitute an endless combination of interesting, sometimes even life-changing episodes. Her work is spotted with instances of dark humor stemming from the inevitable daily malfunctions to which we have become used to in real life but not so much in cinema. After all, movies have always been labelled as entertainment meant to do just that: entertain us from our everyday existence. Reichardt, however, in the similar vein of the forefather of documentary naturalism, Robert Bresson, who was famously obsessed with singular actions carried out by his protagonists such as a man tying his shoelaces, a woman sticking a pin into her hair, or a pickpocket’s hands reaching into someone’s else coat, wants her audience to grasp the surreal consequences that derive from our everyday behavior. In other words, everything that we do carries its own little impact. A domino effect of some kind.

The barren rail yards of Northern Oregon.

Her film, Wendy and Lucy, is the prime example of Reichardt’s trademark fascination with the mundane as it centers around Wendy, a twenty-something-year-old woman on her way to Alaska with Lucy, her dog, as the only companion. Wendy ends up stranded in a small town in Northern Oregon, homeless, when she loses Lucy due to a set of unfortunate circumstances. Again, notice how I say circumstances. Wendy and Lucy is filled with them. Not only is our protagonist unable to pay for dog food which leads her to shoplift a can at the local grocery store which ultimately gets her arrested, she also loses the car on which her entire journey depended on due to an inevitable mechanical fault and is unable to provide the dog pound with a contact number in case they find Lucy because she doesn’t have a cell phone. Everywhere she looks, there are walls. Wendy is helpless. But she fights.

Wendy and Lucy looking for a way out.

Unlike many of her contemporaries, Reichardt does not succumb to the needs of modern day audiences in the form of caped villains or grand action set-pieces à la Mission Impossible. Her characters don’t have superpowers, guns, or large sums of money. They don’t have to, as they’re already busy fighting the challenges posed by everyday life. Challenges that involve having enough money to dial a number from a payphone, waiting in the freezing cold for the auto shop to open, finding shelter in the restroom of a gas station, and so on. These are problems that Reichardt’s protagonists, like Wendy, experience on an individual level, but that end up translating on a much more universal scale. The film’s small-town world of Nothern Oregon stricken by the 2007-08 financial crisis, with its barren rail yards and desolate mill towns is the same world that most of us know of due to similar, unfortunate circumstances. It is a world where, as the kind-hearted security guard that Wendy is lucky enough to befriend, points out ”You can’t get an address without an address, a job without a job, a telephone without a telephone number. It’s all fixed.”

Through her focus on details, Reichardt builds expansive worlds we can relate to.

Gathered around a bonfire, Wendy and a group of similar-minded outcasts discuss their shared feelings of living in a society that is moving on without them, leaving them to their fate, and their desire to escape somewhere far away, somewhere where the rules of the regular world don’t apply. They sit in the dark, illuminated by the flames of the fire. Reichardt films this scene using natural lighting, thus we find ourselves engulfed in the same darkness as Wendy and the others. As an audience we are forced to sit with this community of rejects and absorb their simple yet vital problems. Wendy’s only comfort, after all, is a stained pillow and an old, raggedy blanket. After losing Lucy, preoccupied and afraid, she calls her brother in Indiana. His only reply is, what do you want from me?
But what might sound like a misery tale of a homeless girl suffering on end, is in fact a more universal portrait of a nation, a cultural mindset and a generation affected by the inevitable consequences of our progress as a society and the realization that we’re all in this together. It’s one big melting pot.

Wendy never gives up.

What I admire the most about Kelly Reichardt’s filmography is her unwavering commitment to telling personal stories mostly centered around individuals who don’t necessarily fit our pre-conceived idea of a movie character. More often than not, her films focus on the cruel twists of fate, on the helpless nature of humans in the grand scheme of things. Yet simultaneously, these stories are more than that. They’re about the strength of the human spirit. Because how in the world could a young, single, homeless woman like Wendy make it this far in her journey had it not been for her incredible strength of character? Who wouldn’t give up when faced with the loss of their only companion, lack of a roof over their head and enough money for Snickers bar?
There is real ugliness in Wendy and Lucy. There is all kinds of poverty, alcoholism, loneliness. But Reichardt, through her fixation with little details, finds also signs of subtle beauty: the sense of community among those who struggle to make a living out of returning steel cans to the recycling center, the unexpected friendship between an elderly security guard and our protagonist, fleeting moments of peace like when Wendy is in a cafe’ writing something down and Reichardt fixes her camera on a young man reading a paperback of Sometimes a Great Notion, Ken Kesey’s magnum opus set in Oregon. It’s again, a simple matter of details.

We are all part of the same melting pot.

Casino Royale: Reinventing a Franchise

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Hollywood loves a good franchise, but for the most part the chances of a franchise being consistently good are very slim. The Bond franchise is a prime example of this. From its humble beginnings in the 1960s, a period that saw a Scotsman in Sean Connery rise in the ranks and become one of the most recognizable faces around AND one of the highest grossing movie stars of all time, to a series of misfires and miscast names throughout the 70s and 80s, and finally to Pierce Brosnan stealing the show in GoldenEye just for his later entries in the Bond catalog to fail both critically and commercially; similarly to Batman, the James Bond franchise was on its last legs as it entered the new millennium. To everyone’s surprise Casino Royale turned out to be a major sensation. A new star was born in Daniel Craig and James Bond was alive and well, and perhaps truer to the Ian Fleming’s original character than ever before.

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The first time we see Craig as 007.

How Casino Royale, directed by Martin Campbell, changed the way we perceive and sympathize with Bond as a fleshed out character instead of a cardboard cut-out is still to this day an incredible achievement in storytelling and action filmmaking.
The most obvious aspect of Casino Royale is, of course, how blatantly indifferent it is to all the previous franchise entries. The film opens in black and white, suggesting a flashback sequence from 007’s first mission for the agency, with Bond literally smashing a guy’s face into a sink and violently shoving his face into said sink full of water until the nameless bad guy stops breathing. The scene is brutal, grim and openly demonstrative about the movie’s further intentions in establishing Bond as a atypical character.
Unlike Casino Royale’s predecessors, where the movie usually opened with an intense set-up that ultimately ended in either a sarcastic comment made by the agent himself or a funny set of circumstances that would serve to fuel the movie’s plot, Campbell’s film never attempts to emphasize humor the same way. After all, this is 2006 we’re talking about; the era of clunky one-liners and testosterone-filled actioners à la True Lies, Speed or The Rock is over, and even the most generic actions films take themselves seriously both in style and execution. Humor in Casino Royale comes at an expense and this is where things start to get interesting.

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The gruesome, black-and-white opener sets the tone for the franchise’s re-birth.

I fail to recall the last time I had seen Bond truly suffer as a human. And I don’t only mean physical pain because we all remember the fair share of painful adversities that Bond has had to face throughout the years (spiders, lasers, waterboarding, gunshot wounds, etc), I mean real, psychological pain, pain that exposes the character’s (up until then) few weaknesses. In Die Another Day, Brosnan’s last catastrophic outing as 007, Bond was indeed held prisoner by North Koreans and tortured numerous times, but the pain the character underwent was never given enough weight and was soon dismissed with Bond ultimately walking away a free man in a prisoner exchange.
In Casino Royale, however, our protagonist feels, just like anyone of us. Craig’s Bond is made of flesh and bone and is aware of his own physical limitations. M labels him a blunt instrument, a cold, calculated weapon executing the agency’s orders. But we soon learn that our protagonist, despite his best efforts to fight them, is a prisoner of his own feelings. And that is, I think, Casino Royale’s main strength: the movie is driven by our and everyone else’s preconceived idea that Bond is an emotionless machine working against the movie’s own initiative to mix things up and shape Bond into a more human version of the world famous agent with a license to kill.

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Mads Mikkelsen perfectly encapsulates a Bond villain.

Casino Royale knows what it is up against, namely a whole catalog of movies and fans of these movies that value Bond for his cartoonish appearance. And when the movie’s main plot kicks in, Royale does everything in its power to build a fun, engaging storyline that serves to de-construct and re-shape James Bond as we know him.
Rewatching the film with a friend who had not seen the movie, I noticed how she kept waiting for the eventual one night-stand or (as we like to call them) Bond girl, to come in, have sex with our protagonist and leave him in matter of nano seconds, only to be swept away by the franchise’s most real and heartbreaking romance. Because even though there is a scene where Bond, tied up and naked, gets his testicles crushed with the swing of a heavy rope (and the pain is both visible and audible) by the movie’s main antagonist, Le Chiffre (Mads Mikkelsen, the definition of a Bond villain), the hurt that our protagonist turns out to suffer most is the feeling of pure grief, and the hopeless realization that he is forever bound to the memory of Vesper, a woman he tragically lost and who sacrificed her own life for him. Yes, him. The worthless machine serving the agency’s interests. A stone-cold killer with no sense of remorse. The blunt instrument meant to be used to bash someone’s head in.

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007 naked and exposed.

Reinventing the Bond franchise was a necessary step for mainstream, crowd-pleasing cinema and resulted in Hollywood re-establishing the importance of high quality action movies familiar with the definition of ”character development.” The Bond franchise finally moved away from conservative studio shoots and CGI effects and decided to make fight scenes practical, aggressive and turn our protagonist into an underdog with real weaknesses to be exploited by stronger enemies. Too often had we seen Bond go through enemies like papier-mâché, sometimes not even bothered to look their way before killing them. Casino Royale changed the way Bond inflicts violence upon others and the way others inflict violence upon him. All of a sudden we are watching a character whose prime interest is not getting laid, but embracing the love of a woman and considering the possibility of early retirement.
Of course, nothing is perfect and the underwhelming follow-up to Casino Royale, 2008’s Quantum of Solace proved once again how hard it is to be consistently good as a franchise. But at least we now know that Bond breathes, sweats and bleeds like any other man. He is touchable.

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Casino Royale gives Bond a reason to exist.

Musica, Maestro: Remembering Ennio Morricone

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We find ourselves today, a few hours after Morricone’s passing, stripped of the presence of a man who was capable of amplifying emotions like no other.
Having composed film music for over 60 years, Morricone leaves us with a catalog not of films, but emotions. Rarely have I felt so connected to someone who, like most film composers, has his work hidden behind the images on screen, often subject to editing and directing choices that can influence the final outcome. His music not only belonged to the film it was composed for, but it elevated the entire experience to the point where you found yourself coming back to the music rather than the film itself.
In his monumental collaborations with childhood friend Sergio Leone, Morricone found the winning formula that would later on be used for the majority of his career. He, along with Leone, understood that film music can not only serve as a tool meant to convey emotions/mood of a scene; it can also tell the story of the scene.
In a way, Morricone was like an assistant director. Leone would ask him to compose the music beforehand, then he’d take the recordings and play them as loud as possible on each film set, whether it was A Fistful of Dollars, The Good, the Bad and the Ugly or Once Upon a Time in America, Leone knew that in order to obtain the best possible results in setting up a scene it was up to him to accommodate Morricone’s music, and not the other way around. It was up to him to understand the composer’s intentions and direct accordingly, in order to achieve a truly ecstatic feeling of harmony between the images on screen and the sound behind them. In The Good, the Bad and the Ugly we witness a four-minute-long scene of Eli Wallach running around a graveyard, stricken with feverish greed, in search of gold. The music accompanying this scene, the famous Ecstasy of Gold, is the only element used to make this four-minute-long sequence of a man running around in circles work. And boy, does it work.

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Morricone and Leone: two childhood friends who changed cinema together.

Morricone made music meant to last forever. He was a firm believer in the power of cinema and considered film music to be crucial. A time vehicle that would allow future generations to look back and associate music with images, and vice versa. Time and time again, I found myself wanting to participate in the actions depicted on-screen because of Morricone’s score behind each of these actions; I wanted to attack Al Capone’s men whilst riding on horseback in The Untouchables, just as I wanted to duel with Henry Fonda’s baddie in Once Upon a Time in the West, or find redemption the same way De Niro’s character did in The Mission.
Whether it was his use of a plethora of instruments including harmonicas, electric guitars, horns and clarinets, or his inclusion of sounds like his infamous use of whistles, whips and water, Morricone was an artist with a complete understanding of what makes us human. His belief in conveying a full range of emotions through sound and images is an incomparable contribution to our existence. We may not realize it, but the way we respond to movies and the way we incorporate music into our daily lives is in large part thanks to artists like Morricone. By not separating himself from his own work, but by bringing his own dreams, memories and beliefs into his music, Morricone amplified the importance of sound in film and helped us further realize that at the end of the day we’re not all that different from each other. Our lives and lives of our beloved characters are bound to meet at some point. It’s okay to seek redemption. It’s okay to accept the past. It’s okay to want to overcome pain. It’s okay to want to love and be loved. Yes, it’s okay.

Farewell, maestro.